A pair of ormolu three-branch wall lights Louis XVI, circa 1775

In overall good condition. Colour of gilding less greenish more golden and attractive than in the catalogue photograph. Wired for electricty. Drip pans of both with modern brass rings to conceal additional small lightbulbs. Scattered rubbing, some minor oxidation and surface dirt.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Designed in the late goût grec style, these ormolu bras de lumière relate to the oeuvres of Jean-Louis Prieur and Jean-Charles Delafosse. The flame finial concept of these wall lights is comparable to that shown in a design attributed to Prieur and executed in a pair of wall lights by the same craftsman and now in the J. Paul Getty Museum, see Hans Ottomeyer and Peter Pröschel, Vergoldete Bronzen, Vol. I, München, 1986, p. 172, figs. 3.5.3. and 3.5.4., respectively. A set of three-branch wall lights with similar flaming torch bodies is at Pavlovsk Palace, see Emmanuel Ducamp, Pavlovsk, Les Collections, Paris 1993, p. 194, fig. 52. The whimsical coiling arms of the present lot show the influence of Jean-Charles Delafosse, whose wall lights often incorporate curled branches. For a pair of three-branch ormolu wall lights with closely related reeded arms cast with acanthus leaves formerly in Louis XVI’s bedroom at the Château de Compiègne and now in the Wallace Collection, see Peter Hughes, The Wallace Collection, Vol. III, London, 1996, pp. 1419-1422. The sash and ribbon-cast upper section was a fashionable design element popularized by the bronzier André-Antoine Ravrio and was most commonly used on wall lights executed in the goût étrusque style, making this lot an interesting transitional  piece between the Greek and Etruscan styles.